Читать книгу Mummery: A Tale of Three Idealists - Cannan Gilbert - Страница 6

'Ça marche,' said Charles Mann to his wife a few weeks later.

His programme was maturing. He had arranged for two books to be published, for an exhibition to be held, for a committee to be formed, for lectures to be delivered in provincial centres, and he had been insulted by an offer to play a part in a forthcoming production of King Lear at the Imperium Theatre. He had forgotten that he had ever been an actor and did not wish to be reminded of it, and he was incensed when the manager of the Imperium used the offer as an advertising paragraph.

'The fellow is jealous of the attention I am receiving in the Press and wants to divert some of it to himself.'

'You should go and see him,' suggested Clara.

'It is his place to come and see me.'

'No. Go and see him.'

'Are you right?'

'I always am.'

'Clott, take down this letter to Sir Henry Butcher, Imperium Theatre, S.W. … "Dear Sir Henry, When I declined your kind offer the other day, my refusal was as private as your suggestion. I can only conclude that some mistake has been made and I should like to have an understanding with you before I write a letter of explanation to the Press. … '"

'You think too much of the Press, Carlo.'

'Only now, darling. … Later on the Press will have to come to me.'

Clara looked dubious.

'You're moving too quickly,' she said. 'I'm getting more used to London now, and I'm afraid of it. It is just a great big machine, and there's no control over it. There are times when I want to take you away from it.'

'You gave me no peace until we came here.'

'Yes. But I didn't want to begin at the top. I wanted to come over and live as we lived in Paris.'

'Impossible. What is freedom in Paris is poverty in London.'

'But all your time goes in writing to the papers and sitting on committees. You aren't doing any work.'

'I've worked in exile for ten years. I can carry on with that for a year at least.'

'Very well. Only don't stop believing in yourself.'

'I could never do that.'

'I think it would be very easy for you to begin believing in what the papers said about you.'

'You're too young, my dear. You see things too clearly.'

They were now in the furnished house found for them by Mr. Clott, a most respectable house in an unimpeachable neighbourhood: an old house reclaimed from the slums, re-faced, re-panelled, painted, papered, decorated by a firm who supplied taste as well as furniture. Charles hated it, but Clara, who through her grandfather knew and appreciated comfort, was delighted with it, and with a few deft touches in every room made it her own. It hurt her that Charles should hate it because it was good and decent in its atmosphere, and belonged to the widow of a famous man of letters, who, intrigued by the remarkable couple, had called once or twice and had invited Clara to her house, where the foreign-bred girl for the first time encountered the muffins and tea element of London life, which is its best and most characteristic. It seemed to her that, if Charles would not accept that, he would never be reconciled to his native country as she wanted him to be. There was about the muffins and tea in a cosy drawing-room a serenity which had always been to her the distinguishing mark of Englishmen abroad. It had been in her grandfather's character, and she wanted it to be in Charles's. It was to a certain extent in his character through his art, but she wanted it also to be through more tangible things. As she wanted it, she willed it, and her will was an impersonal thing which in its movement dragged her whole being with it, and it had no more consideration for others than it had for herself. She could see no reason why an artist should not be in touch with what was best in the ordinary lives of ordinary people; indeed, she could not imagine from what other source he could draw sustenance. …

Friends and acquaintances had come quickly. Success was so rapid as to be almost ridiculous, and hardly worth having, and people took everything that Charles said in a most maddeningly literal way. She understood what he meant, but very often she found that his utterances were translated into terms of money or politics or the commercial theatre, where they became just nonsense. He was being transformed from her Charles into a monstrous London Charles, a great artist whose greatness was of more importance than his art.

She first took alarm at this on the occasion of the dinner which the dear, delightful fellow arranged to have given to himself and then with childlike innocence accepted as a thing done in his honour—the first clear sign of the split in his personality which was to have such fatal consequences, for her and for so many others.

There were three hundred guests. The chair was taken by Professor Laverock, as a distinguished representative of modern painting, and he declared Mann to be the equal of Blake in vision, of Forain in technique, of Shelley in clear idealism. Representatives of the intellectual theatre of the time were present and spoke, but the theatre of success was unrepresented. There were critics, literary men, journalists of both sexes, idealists of both sexes, arrivists, careerists, everybody who had ever pleaded publicly for the theatre as a vehicle of art. Professor Laverock declared it to be Mann's mission to open the theatre to the musician, the poet, and the painter, and, if he might express his secret hope, to close it to the actor. There were many speeches, but Clara sat through them all staring straight in front of her, wondering if a single person in the room really understood what Charles wanted and what he meant. Whether they did so or not, Charles did not help them much, for in response to the toast of his health he rose, beamed boyishly at the company and said, 'I'm so happy to be back. Thank you very much. The theatre needs love. I give you my love.'

He sat down so suddenly that Clara gasped, and was frightened for a second or two by the idea that he had been taken ill. But when she turned to where he sat, he was chatting gaily to his neighbour and seemed to be unaware of any omission. She heard a man near her say, 'I did hope he was going to be indiscreet,' and she felt with acute disappointment that this was just a dinner, just an entertainment among many dinners and entertainments, and she was ashamed.

Charles, however, was delighted. 'Such nice people,' he said, as they walked home, 'such delightful people, and what a good dinner!'

'Get away. I hate you. You're horrible,' cried Clara, flinging from him.

'Now what's the matter?' he asked, utterly taken aback.

'You're so easily pleased,' she answered. 'People have only to be nice to you and you think the whole world is Heaven.'

'So it is with you, chicken.'

'Oh! Don't be so pleased! Don't be so pleased! Do lose your temper with me sometimes! I'm not a child.'

'But they were nice people.'

'They weren't. They were dreadful people. They were only there because they think you may succeed, and then there will be jobs for them all.'

'You see through people so much that you forget they are people at all.'

'That comes from living with you. I have to see through you to realise that you are a person. … '

'Oh! I am a person then?'

'Only to me. … You reflect everybody else.'

'They are not worth more.'

'They are. Everybody is. If only you would be yourself to them, they would be themselves.'

'Oh!'

She had stung him, as she so often did, into self-realisation and self-criticism, a process so painful that, left to himself, he avoided it altogether. … He walked along moodily. They were crossing St. James's Park. On the bridge he stopped, looked down into the water and said gloomily.

'I sometimes think that my soul is as placid and still and shallow as that water, and that you, like all the rest, have only seen your own reflection in me. … That's why I like the comfort of restlessness and change. Anything to break the stillness.'

'You couldn't say that if it were true,' she said.

'No. I suppose not,' and, with one of his astonishing changes of mood, he took her arm and began to talk of the day when he had first met her in Picquart's studio, where everybody was gay and lively except they two, so that he talked to her, and seemed to have been talking for ever and had no idea of ever ceasing to do so. And then he told her how better than even talking to her was being silent with her, and how all kinds of ideas in him that had been too shy to appear in solitude or with others had come tumbling out like notes of music because of her.

'I've nearly forgotten,' he said, 'what being in love is like. This was at the farthest end of love from that, something entirely new, so new as to be altogether outside life. I have had to grope back into it again.'

'I liked you,' said she, 'because you were English.'

'Did you?' He was puzzled. 'I thought that was precisely what I am not.'

Neither could be angry for very long, and neither could be rancorous. The enchantment in which they lived would sometimes disappear for a space, when they would suffer, and he would tell himself that he was too old for the girl, or that he was not the kind of man who could live with a woman, or that she was seducing him from his work, while she would just sit numbed until the enchantment came again. Without it there were moments when he seemed just ridiculous with his masses of papers, and Mr. Clott, and his fussy insistence on being a great artist. … It was a keen pleasure to her to bring him back suddenly to physical things like food and clothes and to care for him. Sometimes he would forget everything except food and clothes, and then she lived in a horror lest he should remain so and lose altogether the power of abstraction and concentration which made him so singular and forceful, and so near the man she most deeply knew him to be if only some power, some event, even some accident, could make him realise it and force him out of his imprisonment and almost entombment in his own thoughts.

Her will concentrated on him anew and she said to herself, 'I can do it. I can do it. I know I can, and I will.' And when she was in these fierce passions she used to remember her grandfather, the kindly old bibliophile, looking anxiously at her and saying—

'My dear, when you want a thing just look round and see if there aren't one or two other things you want.'

But she had never understood what he meant, and she had never been able to look round, for always there was one thing she wanted, and when she wanted it she could not help herself, but had to sacrifice everything, friends, possessions, even love. And as time went on, she realised that it was not Charles she wanted so much as some submerged quality in him. The object of her desire being simplified, her will set, only the more firmly, even rigidly.

It made her analyse him ruthlessly; his childish lack of self-criticism, his placidity, his insatiable vanity, his almost deliberate exploitation of his personal charm, all these things she cast aside and ignored. She came then to his thoughts, and here she was baffled because she knew so little of his history. Beyond his thoughts lay that in which she was passionately interested, but between her and it danced innumerable Charleses all inviting her attention, all bidding her look away from that one Charles Mann for whom she hungered with something of the worship which religious women have for their Saviour.

He was immensely kind to her, almost oppressively kind. He could never be otherwise to any living creature—in personal contact, but without that he was careless, indifferent, forgetful, although when she saw him again it was as though he had never been away. They were considered a charming and most devoted couple, and their domestic felicity helped him in his success.

Much talk in the newspapers, many committees—but Clara felt that merely another Charles was being created to dance between her and her desire. This was too far from what she wanted, and she could not see how it could lead to it; there was altogether too much talk. What he said was very fine but it merely gathered a rather flabby set of people round him—and most exasperatingly he liked it and them … 'Such nice people.'

'That is all very well,' said Clara, 'but we are spending far more than there is any possibility of your making.'

'There are rich men interested,' said Charles.

'But until you make money, they won't give you any.'

Hard sense was always too much for him, and he retired puzzled and rather pained from the argument.

Because she was beautiful she attracted many men, many flatterers, but as they penetrated her graciousness, they came upon the hard granite of her will and were baffled, unpleasantly disturbed, and used to leave her, darting angry glances at the blissful Charles, who was sublimely unconscious of criticism in those whom he approached. He accepted them as they were or seemed to be and expected the like from them. He was too busy, too eager, to question or to look for hidden motives in those who supported him, and that he was concealing anything or had anything to conceal never crossed his mind! He had other things to think of, always new things, new plans, new schemes, and he was fundamentally not interested in himself. A charming face, a lovely cloud in the sky, the scent of a flower, a glass of good wine could give him such delight as made him beam upon the world and find all things good. It was always a trifle which sent him soaring like a singing lark, always a trifle that could lift him from the depths of depression. Great emotion he did not seem to need, though the concentrated emotion with which he hurled himself at his work was tremendous. Happy is the people that has no history. For all that he was aware of, Charles had no history. He was born again every morning, and he could not realise that the world went grinding on from day to day. …

Never had life been so sweet, never had he been so successful, never had he had so much money, never had he been so exquisitely cared for, never had so many doors been open to him, never had such pleasant things been said of him! He went to bed singing, and singing he awoke in the morning, but in her heart Clara was anxious and suspicious of London, most suspicious of the artists and literary men who thronged the house, and gathered at the elaborate supper which Charles insisted on giving every Sunday night. They were too denunciatory, too much aloof, too proud of their aloofness, and talked too much. She thought Charles too good for them and said so.

'Art is a brotherhood,' he said magnificently, 'and the meanest of the brethren is my equal.'

'That is no reason why you should be familiar with them. You cheapen yourself. Besides it is a waste of time. … A lot of people never do anything, and—I don't like it.'

'Ho! ho! Are you in revolt, chicken?'

'I don't want you to fritter away what you have got. It isn't worth while to spend money on people who can do nothing for you.'

'I don't want anybody to do anything for me. It is for art.'

'But they don't understand that. They think all sorts of wonderful things are going to happen through you.'

'So they are. … Hasn't it been wonderful so far?'

'For us. Yes.'

'Wasn't the exhibition a great success?'

'Yes.'

'Very well then.'

'But you only sold the work you have done during the last ten years. It is the work you are doing now that matters. What work are you doing?'

'Plenty—plenty. Mr. Clott sends out not less than forty letters a day. And I have just invented some beautiful designs for Volpone.'

'Is it going to be done?'

'It will be when they see my designs.'

Clara bit her lip. This was precisely what she had hoped to scotch by coming to London. In Paris he had made marvellous designs. Artists had come to look at them and then they had been put away in a portfolio.

'What I want,' said he, 'is a patron, some one who, having made his money in soap, or pills, or margarine, wishes to make reparation through art. … Michael Angelo had a patron and I ought to have one, so that I can do for my theatre what he did for the Sistine Chapel.'

They didn't build the Sistine Chapel for him.'

'No. … N—o,' he mumbled.

'Don't you see that things are different now, Charles. Everything has to pay nowadays, and there aren't great public works for artists to do. Michael Angelo was an engineer as well. … You couldn't design a theatre without an architect now, could you?'

'Why should I when there are architects to do it?' He was beginning to get angry.

'If you could you would be able to carry out your own theories as well. … People want something more than drawings on paper. … '

'You talk as though I had done nothing.'

'It has been too easy. … Appreciation is so easy for the kind of people who come here. It costs nothing, and they get a good deal in return.'

'Don't you worry about me, chick. I'm a great deal more practical than you suppose.'

'I only want to know,' she said, rising to leave the room, 'because, if you are not going to work, I must.'

'My dearest child,' he shouted, 'don't be so impatient. It is only a question of time. My book is not out yet. We are arranging for the reviews now. When that is done then the ball will really be set rolling.'

'To be quite frank with you,' retorted Clara. 'I hate it all being on paper. I am going to learn acting, and I'm going on the stage to find out what the theatre is like. … I don't see how else I can help you, and if I can't help you I must leave you.'

He protested loudly against that, so loudly and so vehemently that she pounced and, with her eyes blazing, told him that she intended to make her own career, and that whether it fitted in with his depended entirely upon himself.

'I won't have you wasted,' she cried, 'I won't. It has been going on too long, this writing down on paper, and drawing designs on paper, and now with all these columns about you in the papers you look like being smothered in paper. You might as well be a politician or an adventurer—You have no passion.'

'I! No passion!'

'On paper. The world's choked with paper, and London is stifled with it. My grandfather told me that. He spent his life travelling and reading old books—running away from it. I'm not going to run away from it, and I am not going to let you be smothered by it——'

'How long has this been simmering up in you?'

'Ever since that first day when you were interviewed. … We're not living our own lives at all, but the lives dictated to us by this ridiculous machinery that turns out papers ten times a day. We're——'

'Very well,' said Charles submissively. 'What do you want me to do?'

'I want you to keep your appointment with Sir Henry Butcher.'

He pulled a long face.

'You'll hate it, I know,' she added, 'but there is the theatre, and you've got to make the best of it. I dare say Michael Angelo didn't care particularly for the Sistine Chapel.'